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src/content/chapters/05-limits.mdx

@@ -1,3 +1,6 @@
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 title: Limits
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+
+A good craftsman has awareness on what they can and can't do. This goes with either the physical, mental, or emotional
+capabilities.

src/content/chapters/08-pulse.mdx

@@ -11,3 +11,11 @@ sound and your canvas is time".
 
 Sir suggested to give more focus on the rhythm instead of the pitch when trying to recover from mistakes. That way, the
 mistake would still be of musical value, as differences in pitch are more apparent.
+
+---
+
+The _rallentando_ marking is different from _ritardando_ in the way that the latter is a gradual continuous decrease of
+tempo, while the former is a much more discrete decrease. One may perform _rallentando_ in a way that the tempo changes
+happen per beat--the beat's tempo a relative decrease from the previous.
+
+[Illustration of _rallentando_ and _ritardando_ here.]

src/content/chapters/19-performance.mdx

@@ -1,3 +1,9 @@
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 title: Performance
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+
+What makes a sensible practice session is to test out techniques and see which need further development. This is a huge
+differentiator from merely repeating performance of a piece, however, it does not exclude said method in being
+classified as "practice". As one may practice while focusing either on the individual techniques and passages on a
+piece (applying rectifications and changes on expression), or on the bigger picture (how does one movement connect to
+another, or the overall "vibe" of the piece with respect to the performer's expressive capabilities).